George Rippon
Hacks around my Table
22.11 – 22.12.2013

“The Roman rooftop terrace parties in The Great Beauty show a culture that is blocked, resigned, embalmed in elegant decline, where some seek [salvation] and others [release], and intellectuals talk endlessly about what’s wrong and yet inertia overwhelms all forward momentum…” [1]

We sit divided before you. The writer, here, believes in work, the steady engine that pulls them along. As well, there is the hack lurking over there. They believe in down time, that time for doing nothing. Have friends over, play cards, catch up on gossip, watch TV, pet a cat. By nature, they are fairly good company, and make interesting dinner partners. That they remain loyal to their engine, no matter how quietly it hums along to the murmurs of the other, is no easy job.

This is the third time you’ve worked with Servillo now [the first being 2001's One Man Up]. What’s it like working together?

I wouldn’t really know how to describe it now because, having known each other for such a long time, the whole process is sort of an automatic thing. But it’s based on the fact that we get along very well. We share the same sort of ideas. We have a common view of things and that’s very, very useful. [2]

The catalogue is a piece of sound art cut in vinyl as well as a documentation of the exhibition Aftenlandet, which took place at peinture et sculpture in spring 2013. For one evening the artist invites the viewer to enter the soundscape, Aftenlandet, in order to become the listener. Every hour the sound work will be played in it’s full length. It will be possible to acquire a copy of the catalogue on the evening of the release. The catalogue is sponsored by KODA.

Catalogue, 2013. LP in sleeve. 30 x 30 cm
Photo: Jan Sondergaard

The key to understanding what is going on needs to be found in the merciless reality of evolution. Organisms fundamentally live with challenges and pressure in their environment. As an answer they develop solutions as they go along. Solutions that are built on top of the construction that already exists.

I save the last dance. I save death. Take me home. Hands are burning. It is up to my elbows.
Say my name. Say my name. All these smells are familiar. We smell like each other now.
Tripping over. Come a little closer. Vaporize this. High pass it. Skew. Distort.

Resort city.

Out of order. There are talk of uses. Use this. The sight is blurry. No card. No patience.
A flurry of bad traits. The flip side of evil. There were no good angles. That was last season.

Praise all over.

The smell is gone. Awaiting lift off. Caring does not come easy now. Impatience is the biggest vice.
Keep the truce. Keep all of it. Travel light. Empty the chambers. Exempt the players. Get free.

Duty free. I stay for the game. Minimum effort. There is a sea punk in here somewhere. Exclaim its
roots. What are these oceans I ask. Recalibrate the vessel. Time came to pass. Fire away.

Nothing to lose. Moby Dick is watching the gap. The tear in this surface. Plates moving. This
continent is slipping. Fading. Fire away. Pangea. Fire away. Recognize this. A bitter retreat.
It is harder and harder to reach. Excel. Tell me now you know. Little things.

Grinning. Throwing shade. Petty men in reverse. Your screen is a person. Fade.
Ocean and I only cry together. Only the driest tears. Only in the deepest of canyons. The least
deserving. Halve it and move on. The canyon is a bed. The canyon cruise is the last one. These
bricks cannot hold us. Car. Kick the fluids. Kick it. Release all pedals.

Capture it and leave. You know of what I speak. Marry fire. Drowning time. Touch fire.
Live with raised palms.
Keep it light. Steady. Shady.

A sensory practice with longer intervals. Closer to the sun. Ions. All blazing. Heaviness. Heaving.
No promise to keep. Someone has just arrived. Silence. Friendship on fire. Burning.
An impending crash. The last one. Only one.

Car T2a (detail), 2013. Steel. 298 x 121 cm

Car T2a, 2013. Steel. 298 x 121 cm

Car T2a (detail), 2013. Steel. 298 x 121 cm

Car T2b, 2013. Steel. 320 x 73 x 100 cm

Canyon Cruise, 2013. Installation view
Photo: Jan Sondergaard

Tyra TingleffWhen you lay colour on top of colour you get black!
03.05 – 02.06. 2013

The Pleasures of Erasure. It is the blackest black which holds all colours. Tyra Tingleff knows this and her paintings insistently show it to be the case. There is a great difference between saying and showing: ‘to say’ might be taken as analogous to the discrete painterly mark; ‘to show’ then would couple with the stain, or indelible trace. Each carries its own information – however, when encountering the style of delivery associated with the former, one might be said ‘to see’, whereas, with the latter, something is sensed as much as tangibly felt. Tingleff is interested in a moment when language ceases and another mode of communication begins and carries its own time signature and bodily engagement with image and space.

This is only the first of a long chain of paired terms that structure Tingleff’s practice of painting. Her paintings are novelistic rather than literary, episodic rather than narrative. One enters into each painting in a manner similar to how they are made: like the way one, when indeed lucky, merges – bodily – with music rather than listening to song. Tyra Tingleff’s paintings are ideally to be sensed as much as to be seen. She operates through a dynamic rhythm of construction and deconstruction, moving through the workings of a painting both in and between complex layers of colour. Out of these acts emerge the hidden duplicate of the visible, or perhaps the visible duplicate of that which is hidden. There are moments when Tingleff’s paintings – and here, I mean colour as much as anything else – appear to hover as a substance floating free of its support. Trace is an important value in her work and carries as much import as the manner in which time is organized as a material process in Tingleff’s practice.

Painterly marks are often approached as either additive or subtractive. Erasure, veiling and working to reveal the haunted archaeology of each layer are amongst her painterly pleasures. The beauty of Tyra Tingleff’s painting achieves its maximum effect when it arrives, finally at the harbour of its minimal extreme: then, all that is precise and concrete disintegrates only to coalesce as a presence felt, all the more strongly, by being left unsaid.

John Slyce, London, 2013

Tyra Tingleff (b. Norway 1984, lives and works in London) studied at The Royal Academy of Fine Arts, Copenhagen; The National Academy of the Arts in Bergen, Norway; and The Royal College of Art, London. Recent exhibitions include ‘Det som er, og det som kunne være’, BKS Garage, Copenhagen, 2013; Bloomberg New Contemporaries, ICA, London, 2012; Bloomberg New Contemporaries, Liverpool Biennale, 2012.

When you lay colour on top of colour you get black!, 2013. Installation view.
Photo: Jan Sondergaard

In his exhibition at Peinture et Sculpture Owen Armour presents a series of sculptural works inspired by a trip made to remote parts of Greenland. As a recurring feature in Armour practice his work takes its point of departure in the visualization and physicality of sound and how material objects – human or non-human affect the soundscapes that surrounds us. Recordings from his journey are incorporated into one of the sculptures and played out in an infinite loop. Recordings that were primarily made searching for silence not for sounds, in a place so desolate, only the most resilient of animals can inhabit it. But for Armour silence is something never within reach, it’s a phantom, and as he encountered some of the most tranquil parts of Greenland his body and the rhythmic sounds from his recording device became even more present. Silence as well as the possibility of reaching something native or untouched by humans is a fantasy - as the landscape changes as soon as we enter the scenery.

All the sculptures display a riveting sensitivity to the work’s material aspects and distinct personal execution. Several of the materials and designs used in the exhibition appear to mimic the physical qualities of the Greenlandic landscapes. The cracked porcelain on top of concrete slabs echoes sediments of soil, rocks and ice and the plaster logs on the floor may be reminiscent of driftwood. But the choice of materials such as porcelain, concrete and copper also seem to tell a parallel story, that of human refinement. As the earth holds a diverse set of qualities and treasures that through times has been exploited and refined by humans Amours objects too seem to carry their own inherent qualities in a constant tension and state of transformation. A sculpture made of copper strings emulates part of its design from a radio antenna. The tape with recordings will eventually wear down and erase its own content as it loops around the body of the work.

All vibrating – none silent.

Olga Nowotny, 2013

Owen Armour (b. 1980) is trained as a classical music producer. He has previously exhibited at Antechamber in 2012 and at Tove’s Galleri in 2011. He was born in Melbourne and lives and works in Malmö and Copenhagen.

Traces of Pressure, 2013. Installation view

Traces of Pressure, 2013. Installation view

The Occident (Aftenlandet) understands itself as being in a continuous progression. In this forward going movement it is led towards heights characterized by enormous complexity and depths defined by compact simplicity. Its needs accumulate, its pleasure happens in the need for development and progression. It senses itself as itself, as its desire intensifies it adds pressure. The climax of the curve does not top. The rise passes as a discharge into the decline. A sliding unconscious, uncontrollable event. The Occident is lost in the twilight of its own endeavors. It crumbles, falls and fades. During the phase-out the new slowly occurs. Merged and parallel it grows and deteriorates.

The mirror image of The Occident tones forward. The distortion suits its need for self-righteousness. The story of the abrupt necessity covers the continual and monotone. It splits culture and nature and thus avoids relating to the absence of impetus. Quivering it is tempted by the dramatic. From the shadows step real occurrences. They lay the foundation for the future. Sweetness is introduced. The colourful defense of The Occident becomes norm.

There is no question of a process. The diverging maneuver is created solely by the need to avoid dealing with the fact that it is composed of the manifold. In the manifold there is simultaneously violent movements and total standstill. The shapes are formed in order to form, sharpen, sort and in the last resort make possible. The Occident lies in the image of itself. It is being cradled in its understanding of itself. In this way it leads itself forward. The change happens in its knowledge of this.

Jonas Jensen (b. Copenhagen 1982, lives and works in Copenhagen) studied at The Royal Academy of Fine Arts, Copenhagen with Prof. Carsten Juhl and at Städelschule, Frankfurt with Prof. Willem de Rooij. Recent exhibitions include Nomad Space, Frankfurt, 2012; Bernhard Knaus Fine Art, Frankfurt, 2011; MMK Zollamt, Frankfurt, 2011. The exhibition is sponsored by the Danish Arts Council Committee for Visual Arts. It will be accompanied by a catalogue in the shape of an LP.

Aftenlandet, 2013. Installation view

For the eyes mostly – concerned with the doubtful and questionable transcription of easy views from peaceful plateaus and friendly river crossings inside the head, into painting.

Magnus Andersen (b.1987) is studying at The Royal Academy of Fine Arts in Copenhagen with Prof. Martin Erik Andersen at the School of Sculpture. The show marks the initiation of peinture et sculpture a new exhibition space for young contemporary art at Admiral Gjeddes Gaard. Please contact us for further information about the exhibition.